MOCH'S LAUNDRY 14.CHANCELLOR AVE. JERUSALEM• TEL. 2604 מכבסה מוך רחוב שטראוס 14 ירושלים • טל. 2604 ZION AUTO SERVICE CO. ITO. JERUSALEM •TEL-AVIV RETURN TICKETS 210 MUS JERUSALEM, BEN YEHUDA STREET CORN. MORDECHAI BEN HILLEL STREET ציון חברה לשר 1 ח אום 1 םובילים בעיט יד 1 שלים-תל״אביב 1 סיעה הלוך וחוח־ 210 םא י י ירושלים. רחוב בן־יהודה פות רחוב םרוכי בן הלל
התזמורת יי א י ץ - י ש ר א ל י n GEORG SINGER 111 י’! JINl’J pnina salzman / פנינה זלצמן מבוא לקונצרט החמשי לם 1 ו״ם / מאת ד־ר אלזה לברטוב תכניתט הערב E יש לה מ משלה : היא מעבידה לפנימי לומפוזיטורים מהמאך, הלו־ דמת, בולם ׳מארצות שונות. כולם בני ידור אהד. מבין דלומפוזיטורים ■ הרומים שומעים אגו את אלבסנדד בוריו די ן ואת מוחסט מוסדרגםל* 8 המוסילה דצ׳כיית מיוצגת על־ירי ■ אנטוניז ד ב ו ר ד ל ובשם ■ האסכולה הצרפתית ׳מופיע צור פ ר א נ ל. ' כד נער המעגל ממורח למערב, ונתנת •היהמעות לסלוד במיידת־מה את המוסדית. הלאומית, ששבה לתחיה במרכזי התרבות של אירויפד" פניה חדשה ■ זו לערכי הפילללוד משמשת סיום להתפתחות ידועה באמנות חצי לילים. שבאה מיד לאחר התלופה המכונה רומנטית. אלכסנדר בו ד ו די ן ( 1887 — Ä34 הוא ■ אחת ההופעות המענינות ביותר כמובילה הרומית. עליו נאמר כי "איש לא בא בטענה אל האלמות, עם ■ לרבן לט! כל כד, אולם a אם האלמות ליים דל מהרי טענה זו, בולם מזרים ברר. משלח הו ■ העילרי היה חימיה ורפואה ; בהתאם לכד בלה שלש שנות למודים בהיידלברג ופירמם שורה של כתבי־מידע, שסזכותם הנה לעצמי הערבה רבה. אך את כל שעות הפנאי הלדיש למשאת־נפשו האחרת, למומילד" לא יותר מ־ 3 מיימפוניות כתב בודודי׳, ומהן האחרונה נשארה בלתי־גמורה. המפורסמת ביותר. היא השניה ברדמול. היא נכתבה בזימן שהלומפוזיטיר יעבד על האופירח הידיעה "הנסיד אינורה - מחולות הפולובצים מחבור זה נוגנו תכופות על־ידי לתזמורת הא־ע־ישראלית. - יש בה בסימפוניה הרבה מרוחה של אופירה, מצוינת זו 4 מלאה היא אש ועצבות גם יחד. החבור בנוי על רכסים דללסי והוא ב! 4 פדלים! פותח ב אל גד ו ׳נמדיז ביותר המתמזג לאחר 'זמדמה עם נעימות־עם ערבות. התזמורת הארץ־ישדאלית
ENGLISH עברית BOOKS ON MUSIC ר א י ק REI K׳s BOOKSHOP LTD. CINEMA ZION BUILDING TELEPHONE 4740 • PO B. 1258 GERMAN FRENCH
שוקולד "עלית" וממתקי "עלית" טעימים מזינים ומבריאים Elite9s Chocolate and Elite9s Sweets are Delicious Nourishing and Healthy חברה א־׳ לאחריות בע־ם מכסה סיכון־מלחמה HASSNEH INSURANCE CO. OF PALESTINE LTD. COVERS WAR RISK התזמורת הארץ־ישראלית הקונצרט ה- 5 למנויים חיפה: 39 : 12 . 21 • תליאביב: 12.39 . 23.724 י ר 1 שלים: 39 . 12 . 28 (ההתחלה ב 8.30 ה מ ג ג י א ו ר ג פ נ נ ה ז ל צ נפסנתד) בערב) מ ן סימפוניה מסי 2 ב ה-מול ........ אלכסנדר בורודין (1834-1887) !.Allegro 2.Scherzo 3.Andante 4. Finale: Allegro ואריאציות סימפוניות לפסנתר ותזמורת .......... צור פראנק ( 1822-1890 ) סתרה לכלי־מיתרים .... אנטונין דבוחיק ( 1841-1904 ) Valse 3. Scherzo— vivace תמונות תערוכה 1. Moderato 2. Tempo di 4. Finale - Allegro אחת מ 1 דסט פ. vivace מוסותסקי ( 1835-1882 ) (מעובד להזםורת ע" טוריס רול) סיור 1 . "גנומוס" סיור 2 . הארמון העתיק סיור 3 . טיולירי - ילדים משהקים ורבים . 4 . "בידלו* סיור 5 . מחול האפרוחים בקליפות הביצים 6 . סמואל גולדנברג ושמול 7 . לימוג׳: השוק 8 . קטקומבה — קבר הרומאים — עם המתים בלשון המתים 9 . בקתת ה״בבה־יגה" 10 . - השער הגדול בקיוב 5 ס 1 תר 6 ־בליט 1 ^! השאל £־ ל ’ ס. קלי 1 םן יהודה ם. טוקטרי טיח ^ יכיננח • NI TOCATLY ים
THE PALESTINE ORCHESTRA ק 9 ד. מובחר 5th SUBSCRIPTION CONCERT .־J g Haifa: 21. 12. 39 • Tel-Aviv: 23./24. 12. 39 Jerusalem: 28. 12. 39 (Commencing 8.30 p. m.) Conductor: GEORG SINGER Soloist: PNINA SALZMAN (Pianoforte) Symphony No. 2 in B minor ..........Alexander Borodin (1834-1887) 1. Allegro 2. Scherzo 3. Andante 4. Finale: Allegro THE BEST COFFEE Symphonic Variations for Piano and Orchestra ••• César Franck SHEMEN (1822-1890) FOR A SMOOTHER SHAVE IN HALF THE TIME גלוח"מצזין בחצי הזמן ע־׳ סב 1 ן גלזח Serenade for Strings • Antonin Dvorak (1841-1904) 1. Moderate 2. Tempo di Valse 3. Scherzo— vivace 4. Finale - Allegro vivace Pictures at an Exhibition Modeste P. Moussorgsky (1835-1882) (Transcribed for Orchestra by Maurice Ravel) Promenade 1. The Gnome Promenade 2. The Old Castle Promenade 3. Tuileres — Children Quarrelling at Play 4. Bydlo Promenade 5. Ballet of Unhatcbed Chickens 6. Samuel Goldenberg and Schmuyle 7. Limoges: The Market-place 8. Catacombae (Sepulchrum romanum) — Con mortuis in lingua mortua 9. The Hut of Baba-Yaga 10. The Great Gate of Kiev Grand Piano “BlOthner" lent by S. Kleinmann IN HAIFA: . ... after the concert ... in the "CARMELIA COURT"-BAR
ZION HALL BUILDING First floor Right entrance הכניסה מימין קומה א׳ 1 Greater Comfort m Our Enlarged SALON FOR LADIES LATEST HAIR STALES Phone 4705 טלפון 4705 JERUSALEM, 1, Ben Jehuda St. WEISS, BAICHMAN, STEINER HAIRDRESSERS מספרה 1 יס, ביצ׳נזן, שט ני ל ג 3 ך ת בסלון החדיש ביותר לגבירות נוחיות, סביבה נעימה, עבודה MORw“ Andante (B minor) CON leading me to the ״,A The ueatne genius of the dead Hartmann . ; Vadt^ec mer the ¿S: them - the skulls suffuse a soft a dockm drawing of Hartmann represents 5“ , „ .onn o£ a but standing on hens’ claws, belonging to Baba-Yam ¿the deptrtul ofTe\“ haS added atheme describing fte ... . \0■ THE GREAT GATE OF KIEV. This chawing”of Hartmann shows' his design of an entrance gate for the town of Kiev in the massive srvle of ancient Russia, surmounted by a^laumu. helmet-shaped cupoh. ) 7 ancient , B mUCh the provoked instrumentation is shown by the fact that orior to Ravel three composers from various countries had already orchestrated it and after Sche^^ Iast'L“Pold Stokowski, conductor of the Philadelphia Symphony T? °n 7 Rave1®^ by its richness of colour and by the 1MK U d S T S ^adlISIn the depiction of the various images. The main theme of the Promenade is hammered into the ears of ■the listener in its irregular rhythhm and imitates the uneven tread of a spectator strolling from picture to picture It constantly reappears always illumined by Ravel with new colours in sound The instrumentation by the F ench Maestro, an artstic tour de force, gives to the melody ol Moussorgsky an increased plasticity even if it does not, always accentuate the Slavonic colouring. 7 . You meet your friends at Tinn 53 ns i i d n CAFE 4 Ben Jehudast. TABOR תבור n s p □ 4 mw-p -ni CORSET SALON
form of musical variations. In the constant return to the one musical thought which appears in everchanging ׳ forms, he finds a natural frame which holds within bounds the richness of his imagination. On the other hand, the wide technique of composition which expresses itself in rhythmic and melodic changes, in polyphonic ramifications and artistic embellishment of the theme, finds full release in this form. The basic theme in itself is like a play of question and answer in which the orchestra and piano relieve ©ne another. The rhythmically marked first part of the theme, which is started by the orchestra, is followed by a second soothing part played by the piano. The musical problems which are raised by the contradictory character of the theme allow of a great number of solutions. The co-operation of the soloist and orchestra■ is very well balanced in a purely concertante, that is “competitive״ form. The various variations follow each other without any interval and aré so constructed that the work is logically articulated like a symphony with its different parts which differ in feeling and temper. These Variations are a pure product of French art in the delicacy and refinement of their language, an art which has always been characterised by reticence of expression and logical form. Unlike César Franck whose ■form only was shaped by his French culture but who did not use French folksong or national melodies in his compositions, Antonin DVORAK (1841—1904) ■younger by two decades than Franck,, is one of those remarkable instances of men of genius such as his Czech predecessor, Smetana, or Glinka, the; founder of Russian national music, who devoted ■themselves with all the fibres of their heart to the art of their national soils. The Serenade for Strings'by Dvorak is a cycle of five partsi# linked loosely together. It is a cheerful work of “entertaining” character with a dance- like rhythm. (The second movement is obviously a valse). Only in the slow movement is the gay background of the work lowered in tone to make place for melodies of moving tenderness׳, which come to their full development in the strings. In the last movement there are réminiscences of the first and of the slow part of the Serenade Which give the composition a certain rounded close, emphasised by a powerful coda. After this charming episode by the strings, comes Moussorgsky’s PICTURES AT AN EXHIBITION with the spell-binding charm of the full orchestra in the witty transcription by Maurice Ravel J The work was originally composed for piano Modeste MOUSSORGSKY (1841—1904J was one of the most original representatives Of Russian music and can justly be termed a pioneer in. modern musical interpretation. /By the directness and truth of his musical language he mirrors perhaps still more clearly than his contemporary Borodin, the deepest essence of the Russian his most important task “to depict Mother Russia in all her which preface the piano work are given below / y “Moussorgsky received the inspiration for his composition soul, j He conceived as vastness”. Some notes from an exhibition of water colours and drawings by the architect V. Hartman (1874), who had been for many years an intimate friend of the composer. It is a series of ten pieces each bearing the name of a picture, the impression of which the comproser has tried to translate into music. ’ ; The Prelude and interludes, each entitled “Promenade”, consist of one theme with variations׳, which conveys the idea of the composer strolling among the pictures'. 1. THE. GNOME. Drawing representing a dwarf, who totters with faltering steps on his little crooked legs. 2. THE OLD CASTLE. A castle of the Middle Ages (in Italy);, in front of which a minstrel sings his song. 3. TUILERIES. CHILDREN QUARRELLING AT PLAY. A crowd of nurses and childresi in an alley of the Tuileries garden (Paris). 4. BYDLO. 5. BALLET A Polish wagon •with lumbering ־wheels drawn by oxen. OF UNHATCHED CHICKENS. Drawing Hartmann for a picturesque scene in the ballet “Trilby”. designed by 6. . SAMUEL GOLDENBERG AND SCHMUYLE. rich and the other poor.• 7• THE MARKET PLACE AT LIMOGES, i quarrelling. Two Polish Jews, one French market women i) Sparts played to-night (Larghetto omitted).
THE PALESTINE ORCHESTRA INTRODUCTION To the 5th Subscription Concert I Dr. Else Lewertoff ''contemnor״^ Shaped by *t aim of making us acquainted with past century from 4various lands. We shall ■■tea? compositions Czech r״״^r ־ comP°serj. Alexander BORODIN and Modeste MOUSSORGSKY, while £r ™ ANr/ Ï Antonin DVORAK and the French..school by the Belgian,. ' into the national ® C1tde is c'osec' from East to West and we obtain an insight This new £hat Jime. arose in all the cultural;, centres in Europe, biean °n ״?“S4 folk-lore brought to an end th& development which ' began alter the so-called romantic era of composition. BORODIN MfrMit one of^the most interesting iXparitions in . cm it US1C'.t. 'Been said of him thaf “nobody made claims to immortality with he ™ J J ??S¿1« .rf there.exis<Wimortality in music at all - his claim cannot es e • y profession chemist and doctor. — he spent three years studying in Heidelberg and published a number of scientific treatises which gained him recognition_ in scientific circles he devoted all his ïréeçtime to his other passion, musicÿHe wrote °״D Symphonies of which the last was never finished and the second, in B minor, became, the.-, most renowned. The ■symphony ¡was composed Si the same period thaf - Borodin was working on his famous opera “Prince Igor"/׳(the Polovtzi D’ances from the opera have ;been repeatedly played by ,.the Palestine Orchestra) >nd much of the spint of this celebrated opera, lives in the symphony. It is full of alternate fire and melancholy. Built on the classical four-movement scheme, it begins with an Allegro to whose energetic chief theme are later added popular melodies. The interplay of both thoughts is continueduntil the tender and agreeable, second theme begins, given . out at first by the cellosÇThe developmentnext shoyys the marked, chief theme in another rhythmical shape, the other" themes no longer field back, follow with- triumphant ׳. vigour and battle with it for supremacy. This struggle for dominance will also be remarked in the reprise and finally the, chief theme appears as victor, taken up by the full orchestra^The Scherzo which follows is full of spirited humour and ,tremendously rapid in motion. Only in the middle does the Frio introduce a quieter feeling with a typical Russian pastoral melody of charming simplicity. The peaceful episode, however, is soon overtaken by a repetition of the Scherzo. Typically Slavonic is the third and slow movement of the symphony, an Andante of greatest power of expression. Qi ere Borodin . manifests an art of depiction of feeling which reaches into thé deepest-Legions of ihe soulA The Finale immediately following again gives rein to the spirit of gaiety) Dancé¿ rhythms and peasant motives resound. The themes are rhythmically and ,instrumentally changed again and again'and fill the movement with ardent life. The SYMPHONIC VARIATION! FOR PIANO AND ORCHESTRA, the work of the Western contemporary of Borodin, César FRANCK; ^1822—1890), lead us to an ■* entirely different world. One has to know something of the life of this musician who was born in Belgium and educated in Frances in Or$$Mp understand from which sources his creations were nourished. Born in Liège, the composer spent almost his whole life in Paris. He studied at the Conservatoire theye and in his earliest youth gained the most á important prizes for piano, fugues and organ. His improvisations as pianist and organist won him unanimous admiration. After his appointment in 1872 as teacher of organ in the Paris Conservatoires■ his class became the starting point of a French ’¿hool of organ playing and composition which attained fame far beyond the frontiers? of the country. "The composers Ernest Chausson and Vincent d’Indy ,were amongst his remark- ® able pupils; César Franck’s close touch with the polyphonic art of Bach and the latter’s . contemporaries •brought about through his organ playing, much influenced, his•. composition and he attracted his pupils as much by sound knowledge , as his high human qualities. His chief works,^mohg them the Symphonic Variations, were’ written almost -, .J entirely during the last ten -years of his life. It is easily understood thata composer like César Franck who put an emphasis onTlarity and purity of form and Was specially drawn to. the principle of thematic unity, »should have been. much attracted to the I i I B i I THE PALESTINE ORCHESTRA 111
ipoarchives.orgRkJQdWJsaXNoZXIy NDUxMg==